Workshops

Each morning, among the first things I do is visit my creative writing forum. I love it. I love that every day, there are new pieces to read, all shared by young writers who are part of my online creative writing programme. I’ve done four sessions with one batch and three with another; it’s time to bring a little more excitement in – a guest session!

I spoke to author Nalini Sorensen, and we finalized things super quickly. I’m delighted to announce a one-hour writing workshop with this warm, lively, award-winning writer. While the event is free for those who have enrolled for my online programme, it’s open to non-participants too, on payment of a registration fee.

Edit: This event was held on the 19th of November. Look out for all workshop announcements on my blog, or on social media (Facebook, Instagram and Twitter). To receive information about my reading and writing programmes via email, please fill this form.

What is a limerick?

A limerick is a (usually humorous) five-line poem with a strict AABBA rhyme scheme. It’s fun to write and, usually, fun to read. I’ve always loved limericks by Edward Lear, and over the past few years, I’ve read many, many more. Do you remember the nursery rhyme ‘Hickory Dickory Dock’? That was probably the first limerick most of us learned!

Why should I write a limerick?

While I can’t give you an answer to that, I can tell you why I work with limericks so often at creative writing workshops I conduct.

• Limericks are fun.
• Limericks are funny.
• Limericks have a definite structure, which forces us to pay attention to both rhyme and meter. Read more about that here.
• Limericks are short, with no room to wax lyrical.

What do I need to know about limericks?

The best way to understand the form of a limerick is to read dozens – or hundreds – of limericks for yourself. Feel the meter and the rhyme scheme, instead of learning the rules I’ve listed below!

• A limerick has five lines.
• The rhyme scheme of a limerick is AABBA. This means that the first, second and fifth lines rhyme with one another and the third and fourth lines rhyme with each other.
• The length of the lines also follows the same pattern. The first, second and fifth lines are longer and have three stressed syllables each.
  The third and fourth lines are shorter and have two stressed syllables each.

How do I go about it?

As with any other kind of writing, begin with an idea. Perhaps you could write a limerick about yourself!

• The first line should introduce the main character – that’s you!
• The second line should bring humour in. Think about your quirks (strange habits or funny things you do!).
• The third and fourth lines need action. Use good, clear vocabulary.
• The fifth line should not leave the reader hanging. You need a resolution.

Look how I gave it a shot!

I am the main character of my limerick. What odd habits do I have that I can have fun with? What action can I bring in, and how do I finish my limerick with a good punchline?

Here’s one of the limericks I came up with:

What makes a limerick difficult to write?

Lots of things, actually! It took a while for me to realise that I would struggle if I chose to write about more than one character. For me, five lines aren’t enough to do anything meaningful with multiple characters!

The meter of a limerick is challenging too. I had lots and lots of ideas, but with such short, defined lines, it isn’t easy to make the poem work.

I don’t like “adjusting” poems. For me, rhyming verse should be easy to read aloud. Else, it just doesn’t work!

Go on, try a limerick of your own. Share it with me if you’d like to!

Every time I work with children on creative writing, I realise why I enjoy it so much. Each interaction is full of laughter, fun, and most joyous of all–moments when children finally understand something and it shows on their faces. I’m still elated after yesterday’s online creative writing session!

Since I launched the programme on the 5th of October, I’ve had a regular routine. Early in the morning, I log on to my forum. What will I find? Which of the writers would have contributed something delightful?

One morning, I discovered a letter to be placed in a high technology envelope that could be opened and closed with a button. Another morning, I discovered a list of words that one of the young writers loves – goofy, amazing, surprise … And soon, I will find a set of limericks. I can’t wait to read them!

Yesterday, as usual, my session was full of all kinds of activities. I love exploring ways to keep the children engaged during an online interaction, and I wanted to work with synonyms. I chose the word ‘happy’ to start the conversation and used the white board for the first time, inviting them to work together on a word search puzzle. I had to bite back my smile when I saw the poor white board at the end of the session.

Rhyme, rhythm, meter, homophones, alliteration, tongue twisters, limericks … That’s what we’ve done so far in just two weeks. The next ten weeks promise to be exciting.

And on that note, a reminder: registrations are still open for the age-group 12-14 for the batch that begins on Thursday the 15th of October. Click here for more details. I can’t wait for it to begin!

Please note that registrations are now closed for this batch. To find out about the next batch for this age-group, please fill this form, or follow me on my social media handles – Facebook, Instagram and Twitter.

Outline​

• Different kinds of poetry
• Making a story engaging
• Creating believable characters
• Working with plot and setting
• Genre
• Structure
• Dialogue writing
• Editing and publishing

Details​

Age-group: 9-11 years

Start Date: 5th October 2020

End Date: 28th December 2020

Online Interactions will be held every Monday from 4 pm to 5pm. Please note that Monday the 16th of November will be a holiday for Diwali.

Fee: ₹15,000 per participant (payable via UPI to seshanvarsha@okhdfcbank or bank transfer. International payments may be made via PayPal to seshanvarsha@gmail.com)

This includes 12 online interactions, access to a private forum to share writing and individual feedback for each piece.

Maximum of 12 participants per batch.

I love virtual school visits. I enjoy talking to children about my books, encouraging them to explore reading and writing, and taking them through my journey as a writer. Visiting schools virtually was such a novel experience that I wrote an essay for The Curious Reader about it. But of course, as virtual visits go on, more stories are created. That’s the fun of working with children, isn’t it?

Recently, I did a session with a group of about 200 children. I know from experience that it’s important to lay down the rules at the outset, and one of the rules is no mics. If 200 children switch on their mics, there’s utter mayhem. Most children are now used to the idea, but at this school, the session was rather chaotic to begin with. In the beginning, before the session began, I did answer a few questions out of turn but as more and more participants joined in, I shook my head and kept repeating, “Use the chat box. If you have a question, use the chat box. I can’t hear 200 of you at the same time. Use the chat box.”

A few children did have questions. Of all sorts.
Why are we here? (Um …)
When will the session get over? (This, before we’ve even begun.)
Is class V B supposed to come? (Um …)
Who is the teacher in the room? (I wasn’t sure how to answer that.)

Slowly, they settled down, with several more “Please use the chat box” instructions from me.

About fifteen minutes into the session, when everything became a little quiet, a tiny voice piped up, “But … Where is the chat box?”

Ah. Another day, another lesson learnt.

I can’t quite believe it’s been five years with the Writers’ Club at St. Mary’s School. I remember we had a maths teacher in class V who had been teaching there for FOUR YEARS. And I thought that it was pretty much forever. I’m there now.

My first batch was created for the sesquicentennial celebrations, and it led to the publication of Flickering Flames.
In the second year, we put together a book of our own, handmade, and we called it The Book that Speaks.
And in the following three years, I held a writing competition, with the results being announced during the very last session. Last year, I also invited a special guest to give away the prizes – and what fun that was.

This year, my batch was particularly enthusiastic and we had not one but two parties – one for Christmas and one yesterday for our very last session. I love how excited all the girls are about the competition results, even those who submitted nothing! Each year, I ask two girls from a previous batch to judge the entries. I provide them with detailed assessment criteria, and they take the process of judging seriously, which makes me glad. Each year, I enjoy reading their comments, discovering yet again how subjective judging is. This time, we had fewer entries than usual, but the results were just as eagerly anticipated. The two girls who won were thrilled; it’s grand how important it is to them.

And then, we went back to working on magazines, which is what we have been doing for the last three combined sessions (sessions for which I invite those from previous batches). I was so struck by some of their ideas! For instance, one girl insisted that the inside cover COULD NOT have the credits because it had to have an ad. So, she made an ad and somehow fit the masthead in too. Without that, she was convinced, her magazine would not look authentic.

I also realised how disconnected children are from the world of money. For instance, when a pair of them discovered that a magazine has a price marked on the back cover, they wondered whether to put ₹1,500 rupees as their price, only to learn that Champak costs ₹25! They made a joke of it and decided to price it at ₹1,500-million-crore. Which they felt was justified by the amount of work they put in.

We had magazines about dogs, activities, Harry Potter, book series, brands … I was amazed at the number of things they came up with. It took some prodding, of course, used as they are to the idea of making a school project. Some began by choosing topics like ‘deserts’ and ‘temperate zone’. We moved from there to more imaginative ideas, though many magazines were left incomplete. The girls promised to finish them in the holidays – we’ll see.

And that’s that. Another year of stories, plays and poems comes to an end. Each year brings me so much joy!

Five days late, but why can’t every day be read aloud day?

I happened to have a session with my Writers’ Club on World Read Aloud Day, so each of the girls chose something to read. It was delightful! Above all, I was struck by how well most of them read, without burying their faces in their books and without too much stuttering and stumbling. That is privilege, isn’t it? That level of fluency?

Also, this time, I loved that nearly all of them chose their pieces well.
While last year, I had children struggling to read an abridged version of King Lear aloud, fumbling with names like Cordelia and Goneril, this time, I found that their choices were, on the whole, quite good! Some read easy poetry; I had a couple of stories about Akbar and Birbal, and we had excerpts from Nancy Drew and Enid Blyton. I have written earlier about why children choose texts that are too difficult for them; I’m glad that did not happen this time!

And this year, I read an excerpt from The Prophecy of Rasphora to celebrate World Read Aloud Day. And unlike last year, I didn’t foolishly call it World Reading Day. In case you haven’t seen it yet, take a look.

I also used the occasion as an excuse to do something I’ve been meaning to do for a while. I enjoy working with the book in class, exploring language and having fun with words. So, I decided to put a free printable handout online. Here it is. And if you’d like to read reviews of The Prophecy of Rasphora and find out a little more about the book before you decide to use it in class, here you go.

A couple of months ago, I wrote a blog post for StoryWeaver about a training programme I have been conducting for the last three years for librarians in Mumbai and Navi Mumbai, and the ways in which I use StoryWeaver and Pratham Books for the reading programme they implement in schools. I have grown so much through the workshops I purportedly conduct! Working with a range of librarians with limited resources has been an eye-opening experience for me, an experience that I treasure. Each year, I tweak the programme slightly, trying to make it more accessible to every level of learner and easier to implement.

This year, I continued with a theme-based approach, but I chose themes that were clearly linked with the needs of reluctant readers. How delighted I was when I learned about how the librarians took the ideas to their schools!

Linking the reading theme with the overall curricular theme ‘Cleanliness’, the story A Cloud of Trash was selected. For two weeks, the libraries focused on character emotions, then they moved on to identifying the problem in the story, discussed synonyms and antonyms and then tried to discover the solution.

And finally, the children were involved in a task that demonstrated their understanding.

• They presented a skit, trying to imagine what happened next
• They made a fresh book cover for A Cloud of Trash
• They made a poster for their school to highlight the importance of cleanliness
• They made their own stories and comics about cleanliness
• They created picture books of their own, revolving around the idea of a cloud of trash

My next training session with the librarians is two days away and I can’t wait to see what magic they will bring next to their classrooms!

Yesterday, to round off our letter-writing activity, we wrote two more letters.

One began with ‘Dear Reader’, and this is an activity I’ve done more times than I can count. I tweaked it slightly this time because of the idea of posting their letters to them. Instead of telling them that what they wrote would go into books in the library, I told them their letters would go in the mail to someone else in the room. They enjoyed it tremendously!

(Here is an explanation of the activity, plus a link to a video you could use.)

The second was a letter to a fictional character. I asked the children to choose any fictional character they love, and write a letter, sharing whatever they liked with that character. Among all the letters to Hermione Granger, Tom Gates, Silky (Faraway Tree) et al, here’s one letter I found:

I couldn’t stop chuckling at this! Of course, I’m thrilled that she chose to write to Chitra from my railway adventures, but more – I love that the most important thing she would like to share is about her pet cat Melody!

Chitra would love to read this, I think. I also find it interesting that Deven, the eldest of the four cousins in the series, is forgotten. Ah, the joys of being a writer and getting sneak peeks into readers’ minds!

I’ve been waiting to do this activity ever since I thought of it, and it was well worth the wait — particularly because two children said this was the best Writers’ Club session ever!

Receiving a letter is lovely. I enjoy every part of it – the anticipation, seeing something in the postbox, seeing that it is addressed to me, opening it and reading it. That’s why I decided to bring that to the Writers’ Club. I asked each of the girls to bring an envelope to class; I brought the rest.

For me, the first and biggest surprise was that children don’t know how to address an envelope! My instructions were poor – simply because I didn’t realise how clueless they would be. Many children wrote the address at the back of the envelope. Several others wrote their names in big bold letters and then somehow squeezed the address in below. Many didn’t know that a stamp would normally be stuck at the top right corner, so they wrote all over the envelope!

The activity itself was fun; it’s a variation of a grammar activity I often conduct. Each child has a sheet of paper on which she writes a question beginning with ‘what’. She folds it and passes it on. On the passed-on sheet she receives, she writes the answer to the question she asked, then she folds it and passes it on. Next, she writes a ‘who’ question and the same process follows. When we unfold the sheets, there’s always much hilarity! And this time, instead of unfolding and reading aloud, I will be posting them to the young writers.

After that, we also wrote a letter that began ‘Dear Future Me’, which I promised I would not read. Some wrote long letters; others just wrote notes – and they’ll get them in the mail!

They’re going to write one more letter during my next session with them, and then we’re done. I’ll post all their letters and we’ll see how they react when they receive them!

Meanwhile, last week, I also conducted a skill-building workshop for English teachers at Aurangabad. That was another fun event. I’ll do the same session soon in Mumbai and Pune too!

Excitement is so contagious! The Writers’ Club was full of energy today because of two activities we did based on the idea of how characters come alive to readers.

A week ago, I asked the girls to think of a character they would like to present to the rest of the club. We had a few rules and then, because we had about a thousand questions, we had a few more rules.

The bottom rule was this: try to make it fun for everybody. To work towards that, we had a few ‘suggested’ rules:

• Don’t say too much; don’t say too little
• Don’t choose obscure characters
• Don’t make your speech more than two minutes long
• Don’t read out a speech

As we went on, more rules were added, but eventually, today, many of the girls had (of course) forgotten everything. Some had forgotten to think about a character at all, and two were too shy to come forward unprepared.

Yet, we had Harry Potter, Geronimo Stilton, Captain Haddock, Slappy (Goosebumps, no, I didn’t guess this one), Phileas Fogg, Gulliver, Fantastic Mr Fox, Joe from the Faraway Tree … It was lovely. I did something similar a couple of years ago too, as a kind of Children’s Day celebration, but each set of young writers brings something different to the Writers’ Club, a different sort of excitement and energy.

Plus, this year, I took the activity one step further. Once everyone had revealed her character, I wrote the names of the characters down on sticky notes that I pasted randomly on girls’ backs. This almost didn’t work because the notes kept falling. But the children were so enthusiastic that they came to me with paper clips and asked me to clip the notes onto their backs.

Asking each other participant a maximum of one question, which had to be answered in a maximum of two words, they had to find out who they were. Of course, the one question they weren’t allowed to ask was ‘Who am I?’.

Utter mayhem ensued, but of the fun kind. Everyone was absolutely delighted at the end of it, including me!

This post first appeared on the StoryWeaver blog on 9 October 2019.

As a British Council trainer, I’ve conducted numerous reading workshops and facilitated many interactive sessions for theme-based reading challenges. I’ve worked in schools as well as at the British Library itself, interacting with a range of children, from those who devour books to those who yawn at the sight of a library.

So, when Anubhooti Learning Solutions (then ‘Experiential Learning Solutions’) asked me whether I would chalk out a reading programme to be administered by librarians at municipal schools in Mumbai and Navi Mumbai, I was interested. The project was a CSR initiative by D-Mart and the crux of the idea was to support a few schools through a library programme.

Excited, I drafted a detailed outline of what we could do. I devised a theme-based approach with detailed assessment criteria, for that was something that the reading programme team felt was crucial. I also worked out the learning outcomes, outline and structure of three training sessions for the librarians. All of them had worked in different capacities earlier and were to be associated with the library space for the first time. The purpose of my training sessions was to introduce them to their role beyond classroom management and discipline, emphasising that inculcating the habit of reading and a love for language is as much a part of a librarian’s role as the issue and return of books.

Yet, it was only as we launched the programme and began the first workshop that I began to understand how many problems the librarians face. A theme-based programme with assessment criteria was all very well. How would we deal with the other big issues, including the fact that many children did not even attend school regularly? As we went on, there were three problems that I was determined to address through the reading programme:

• One, children come from multiple linguistic backgrounds. For instance, in a predominantly Hindi-speaking area, children attend a school where the medium of instruction is Marathi. “In my class of forty, only five children speak Marathi,” one librarian said to me.
• Two, every class has students with varied reading levels. “The children who have been with us for some time are okay, on the whole, but new children come in all the time. If a child is ten years old, the school administration puts him in class five, even if he has not even learnt the alphabet yet!”
• Three, some schools have different languages of instruction running concurrently. “My first period is with Hindi-medium children, then semi-English, then Marathi, then Hindi again. Each week, I have Urdu-medium, English-medium, Hindi-medium and Marathi-medium children coming to the library!”

What could we do? How could we hope to tackle such a wide range of problems?

Additionally, what started as a small group of eleven librarians soon began to grow. This is the third year of my association with Anubhooti and the D-Mart initiative, and we work with 47 librarians: D-Mart now supports 68 schools through its reading programme.

It is at this stage that my use of StoryWeaver in libraries comes in. D-Mart’s vision for the reading programme includes providing a minimum of 200 hard copies of Pratham Books in three focus languages (English, Hindi and Marathi) for each library that it supports. Five schools also use StoryWeaver books offline. This was a huge boon to me, for at least I had a starting point. I could access the same story in many languages, and thanks to the Creative Commons licence, I could encourage teachers to work with each story in multiple ways. Teaching requires so many resources that access to free material is invaluable!

Reading Levels

I was first attracted to StoryWeaver by the clear levelling of stories, and so, this was the first thing I introduced to the librarians too. In a single class, librarians deal with students struggling to read the alphabet as well as students who read stories confidently. With such a wide range of readers thrown together in one room, I find it particularly relevant that the reading level of books on StoryWeaver is not clearly linked to an age-group. This is important to me because slow learners are often targets for bullies. Reading a “kiddish” book, marketed as one for younger readers, leads to the shaming of slow learners, and a simple indication of reading level rather than age is an important step towards addressing (though not solving) this problem.

The first time we used StoryWeaver, we worked with three stories I love – I Am Not Afraid, Ammachi’s Amazing Machines and Farida Plans a Feast. We read each story many times, in three languages. Bilingual books are particularly wonderful in the context of this reading programme, for when a child is required to read in one language, even though s/he is more comfortable in another language, having both on the same page is a great aid to reading comprehension. All of us loved the simplicity and artwork of I Am Not Afraid. It allowed us to explore and enjoy the story without being daunted by complexity of narrative and vocabulary.

The main activity we engaged in after reading the books was to create simple stories of our own. Inspired by the sweet simplicity of I Am Not Afraid, librarians created wonderful picture books about conquering fear. This was just the first step because they took the idea back to their libraries and asked children to make books of their own. This was a huge boost to the reading programme, as it encouraged children to read more and write more. The most wonderful outcome was that even if they read nothing else, children wanted to read what their friends had created. An added bonus was that there were suddenly many more books in the school library!

Wordless Picture Books

Wordless picture books are all kinds of lovely. We “read” the charming I Can Dress Myself! and then looked at how to work on language skills using a book that is written in none of the focus languages. Beginning with simple questions and answers – giving the girl a name and naming all the pieces of furniture in the room – we went on to a storytelling session, where the pictures in the book became visual aids.

Next, to continue our exploration of the use of StoryWeaver without language, I showed the participants Deepa Balsavar’s vibrant picture of a busy market. With so much happening in a single image, the librarians could explore a range of vocabulary. Consequently, they came up with various ideas of how they could use pictures in class to increase attention and concentration. We discovered that wordless picture books and the visual treat of any detailed image would include both children with very low language proficiency and confident readers who want something new.

Lists

The lists on StoryWeaver allowed me to modify the reading programme in the third year, making the entire programme much more accessible. In the first year, the feedback I received from the librarians indicated that a huge majority of older students did not want to read fiction. Working with non-fiction and stories that clearly reflect the world we see around us thus became important to the reading programme as we moved forward.

And so, for the third year, I chose to begin with three themes – Environment, Science and Technology, and Mathematics.

For the first theme, we read What’s Neema Eating Today? in English, and A Cloud of Trash and Anand in Marathi. Once we had read all three stories, it was time for our next activity. 

In groups, the librarians chose a story to work with and present in a novel way. Some took the story further, imagining what would happen next. Others analysed the story in different ways, changing the setting to their own schools. Soon, through skits and quizzes, we had Chhakuli (the lead character in the Marathi translation of A Cloud of Trash) sorting out the garbage problem in a neighbouring village. We had Anand talking to his friends about taking pride in his work, and about there being no shame in working as a rag-picker. We had questions and answers about character motivation and themes. We discussed segregation of garbage and the role each of us must play in the process.

For Mathematics, we read It’s a Laddoo Party! enjoying the repetition and humour in the tale. Working with maths stories was an intriguing idea for many, one that they could not wait to take to their classrooms.

As a quick recall activity for vocabulary, we also played a ballgame. When a ball is thrown to a participant, s/he must quickly say a word that is clearly related to one of the four stories we read. So we remembered what Neema ate, recalled characters like Peter Uncle and Mihir, and discussed seasons of the year.

What happens next?

While I work with only the librarians, the proof of the pudding is, of course, in the eating. As the librarians do not have easy access to audio-visual equipment, working with StoryWeaver remains, for the moment, limited to schools that have computer labs with books downloaded on the systems. Children read independently – either using StoryWeaver offline or hard copies of books in the library. Eventually, I hope that infrastructural changes will allow librarians to use StoryWeaver to the fullest, including the Readalong feature and YouTube channel.

Yet, exposure to all this material has ensured multiple gains. For one, the librarians themselves have begun to read. Their purpose is clear: using stories actively in the library so as to move beyond the rather monotonous role of distributing and collecting books. Secondly, a theme-based approach allows them to look at books in their collections in a new light and create new books that then encourage reluctant readers. Thirdly, access to the same book in all three languages makes the act of reading less daunting, especially when it comes to reading in a language that is not one’s mother tongue or first language.

And finally, feedback from the reading programme team at D-Mart is promising. Librarians and programme managers assure me that children now enjoy the books tremendously, and isn’t that the greatest victory of all?

The more workshops I conduct, the more I realise how much I learn from them and enjoy them. The last workshop post was about a guest at the Writers’ Club, but a lot has happened since then.

Writers’ Club

At the Writers’ Club, I am constantly struck by the role experience plays in the way I organise my sessions. For at least the last three years, in an attempt to get children to explore different genres of writing, I also push them to explore all kinds of stories when it comes to reading. To do that, I choose a theme for each month, and the theme for the first month was adventure. When I corrected their notebooks, look at the lovely surprise that awaited me!

The girl who reviewed it picked up a copy from the library. Unfortunately, the book is currently unavailable, which is why I haven’t linked it here.

Omkar CBSE School

A workshop on grammar can either be dull or great fun. Yes, I do love grammar. I think it’s exciting, and teaching it can be enjoyable. This one at Omkar was, happily, the second.

Working with Ratna Sagar’s Grammar Plus series made for a light-hearted and hands-on workshop because the books are full of grammar games and enrichment activities that make the teaching of grammar a natural process rather than a series of rules and exceptions!

Books Meridian

My writers’ club at Books Meridian is progressing well too. I was sceptical about how it would turn out because this is a club completely organised by parents. There are just five children in all, which could become a drag, but all five are so enthusiastic and eager that I enjoy each session with them. For the September session, we worked with cryptograms, lipograms, pangrams and more. We’ve been working on poetry for a long time – we’ll move to stories next month!

Villa Theresa

A creative writing workshop with the students at Villa Theresa in Mumbai was everything it promised to be: engaging, interactive and rewarding. I was a little daunted by the idea of interacting with classes VIII, IX and X together, but it turned out to be exciting, despite the large numbers. We worked with language, explored character and discussed technique. An hour is never enough, but it was lovely, nonetheless.

I love inviting people to talk to my Writers’ Club – I think a new person brings a new kind of energy. With this being my fifth year with the Writers’ Club at St. Mary’s, I’ve started planning my sessions better, and involving previous batches each time we do something new and different.

Yesterday, I invited Samiksha Deshpande, an ex-Writers’ Club student, to talk to the girls. She was part of my very first Writers’ Club batch and wrote two stories for our sesquicentennial collection, Flickering Flames. More recently, her poem was one of the nine winners of the Book Trotters Club #SummerWriting2019 competition, which received 93 entries.

Samiksha chose to do a session on limericks. I love working with limericks, so I was delighted when she chose that as her topic!

I sat at the back of the class for a large part of the session, interfering only later to work with the girls on meter and rhythm. I loved Samiksha’s systematic approach, the amount of time she took explaining each section and the method she adopted to ensure that the girls understood what a limerick involves.

Older students working with younger ones is always lovely; I think everyone gains something from the experience. Last year, students from class X made big books for the prep school library, and I invited two of them to address the Writers’ Club.

A creative writing student from Lancaster did an activity with the girls last year (I wonder why I didn’t blog about that!), a NASA scientist spoke to them about science fiction, Ms Leela Gour Broome visited us … I love the number of new experiences I have thanks to the Writers’ Club!

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I was unwell and could not stop coughing. Yet, armed with my enthusiasm (and a pill), I went for the Vidya Valley Lit Fest–and came back energised. The excitement pulsing through the school kept me going – and of course, the thoughtfulness of the team of parent volunteers in organising a mic helped!

Every time I speak to groups of children at lit fests, I realise how different one group is from another. During my three sessions with Class VI at Vidya Valley, I was struck by this yet again. One group was noisy and enthusiastic; the second was almost unbelievably good; the third was full of questions. And each session was wonderful.

‘Words and Worlds’ – that’s what my sessions were called. Working with the beautiful land of Rasphora was delightful, but we did so much more. We spoke of language itself and how we use our words to create worlds in literature.

Describing my journey as a writer, I took the children through my stories and how they’ve shaped me as a writer. As always, “The Dictionary” from my collection, The Story-Catcher, was great fun. Each batch got completely involved in the story, which, from the point of view of a storyteller, is magnificent. I love how the children listen, wide-eyed, hanging on to each word as I read letter after letter as part of the story. This time was no different!

Talking about picture books and the challenges involved in writing them was fun too, though my favourite part was introducing The Prophecy of Rasphora. We did activities around the creation of language, delighting in the sound of words and making up words of our own.

Lit fests are magical – I wish we had more of them in schools!

I’ve been resisting writing this post for ever so long because it sounds like some sort of advertising campaign. I promise it’s not. It’s just that I’ve used StoryWeaver so many times during workshops that I really wanted to share how easy it is to bring such wonderful resources into the classroom.

Why StoryWeaver?

The first answer – it’s wonderful material that is free for use. Is that two answers already?

Considering the amount of material teachers require for class, free resources are a boon. We need them. We need to be able to share stories and ideas freely and easily.

Two, I can download and use resources from StoryWeaver offline. Many workshops I conduct are in places where the internet is patchy, to say the least. The last workshop I conducted, for instance, was at a school in Bhusawal. Earlier that day, when I was trying to check my email, I took 20 minutes to open one mail. Imagine needing that kind of time to get a page to load during class! Being able to use stories offline is excellent.

Three, I love the lists on StoryWeaver. Maybe each story in any given list is not perfect for me. Yet, having my choices narrowed down from about 15,000 available stories (and counting) is a huge advantage.

Four, each story I want to use is usually available in English, Hindi and Marathi. Particularly when I work in non-urban areas, having the same story available in multiple languages allows children – and teachers – to understand and connect ideas, and form a clearer picture of the subject of the story.

Why stories?

For me, this question is not even a question, but I’ve been asked it so many times that I want to address it here.

When there is a textbook, what’s the point wasting time on a story? Stories are frivolous. They’re entertaining, and perhaps useful in the larger scheme of things – like to build the habit of reading, but otherwise, they’re a waste of time. That’s the subtext of the question of why we should bring stories into class, especially while dealing with older children, who should be spending their time on “more serious” endeavours.

I’m not going to address the idea of reading in general here. I don’t think that everyone must develop the habit of reading. Sure, it would be useful as a writer if more people read, but I’m very far away from saying that your life is incomplete/unwholesome in some way if you don’t read. Sorry, I don’t feel that it is.

Yet, since time immemorial, stories have been used to teach. I don’t subscribe to the idea that learning something is the only – or even the most important – reason to read. Yet, in class, the learning element is relevant. When stories from Panchatantra to Aesop’s fables have been used for so many generations, why should the technological age be any different? Choosing the right story to use in class can do wonders. It can change the perception of theoretical ideas and convert vague concepts to ideas that are real, practical and relevant.

Importantly, stories are fun. They change moods. Don’t we all tell stories? Each child understands a story in a different way and takes something away from it. Some laugh and forget. Others learn. Still others mull over a story for days and come back with question weeks later. Stories have power.

Which stories?

Hundreds. I know that’s no kind of answer, but I’ve used so many stories for so many different workshops that recommending just a few is difficult. Yet, I’ll begin with the ones I used during my last workshop.

Ammachi’s Amazing Machines

This one is a favourite. I’ve probably used it each time I’ve used StoryWeaver during a workshop. It has all the elements of a perfect story – fun illustrations, humour and lovely characters. Using it in class is an absolute delight too, for it ends with an introduction to simple machines. Which simple machines did Ammachi use? What machines do you use every day?

Savio Finds the Right Angle

Once more, the story and the illustrations go together beautifully. In each picture, I love the fun the characters seem to be having. Right angles are everywhere, if only we stop and look. This story is a lovely starting point for so much more.

Farida Plans a Feast

This is another story that I’ve used many, many times because I love it. Whether I’m teaching literature, animals or counting, Farida Plans a Feast is perfect. I love the build-up of the plot. What could Farida be planning? I also enjoy the easy numbers – one to five – as Farida collects everything she needs for her feast.

Other stories

I used just these three during my last workshop because I just wanted to introduce to the teachers the variety of stories they can access, but how can I resist the urge to recommend a few more?

• Chuchu Manthu’s Jar of Toffees – A lovely book about kindness, love and loss
• Friends Under the Summer Sun – A unique, beautiful book about friendship and identity
• I Am Not Afraid – The illustrations in this are stunning! And the story is sweet and tender
• The Best House of All – A fun introduction to different kinds of houses
• Ammachi’s Incredible Investigation – Featuring the same Ammachi as in Ammachi’s Amazing Machines, this is another delightful story about using logic and intelligence

That’s all for now, only because this will be a never-ending post if I don’t stop somewhere!

I am, of course, always on the lookout for more recommendations, so please write to me or comment here if there are exceptional books that you feel must be part of this list!

Last year, St. Mary’s School had its first lit fest, and I was delighted to be part of it. Talking to starry-eyed children is an experience like no other, and that’s why lit fests in school are special.

After addressing the children who were gathered together in the hall, we visited a few classrooms, met the girls and looked at the work they had put together. It was good fun, and I wished I had more time with each child.
In an hour, I could do no justice to 150 very different reading-related projects. Stories, 3-D projects, book reports, reviews … These girls from classes I to III had them all! (Some very honestly told me, ‘My father and I made this’ or ‘My mother did everything and I did the colouring’.)

Many of the children I met are now in my Writers’ Club, and I’m delighted to be working with them all year on their writing.

They were excited to meet me again, enthusiastically reminding me that I visited their classrooms last year, thrilled with the idea of joining the Writers’ Club.

Lit fests change children’s moods. Being immersed in literature makes children excited about reading and writing. More schools should have them!

Later this month, I will visit Vidya Valley School for their annual literature festival. I’ve been part of it twice; I can’t wait for what this year has in store for me!

• Vidya Valley Literature Fest 2017
• Vidya Valley Literature Fest 2016

Many children write poetry. Rhyme is fun, having your poem published in the school magazine is even more fun. Teachers and parents encourage children to write poetry, which is good. Of course there’s a ‘but’.

People have been writing poetry forever. Forget the ancient languages, in English alone, even those who don’t opt to study Old English begin by studying Chaucer et al, who wrote almost 700 years ago. When children write about rainy days and their favourite pets, what are they doing to make their work stand out? Why will their work be special? That’s what we work with when I conduct poetry writing workshops.

Yesterday’s workshop

As we played with poetry, people kept popping in to ask what was happening. A Sunday afternoon at a library meant we had lots and lots of visitors.

Exasperated with the interruptions, the children finally asked me, “Why do so many people want to know what we are doing?”

“Because all of you look excited!” I replied. “If you looked bored or irritated, no one would come.”

Two of the children tried to discourage visitors by looking bored. They succeeded for about 30 seconds before they started trying out new funny poems once more.

What do I work with?

Reading and writing go together. Especially when I have a small group of children working with me, we have the space and time to share hundreds of ideas and work on them. Among other things, we work on rhyme, rhythm and form.

Rhyme and rhythm

Always learn from the masters. If you want to write in rhyming verse, read rhyming verse – lots of it. I always introduce my favourites to children – Roald Dahl, Julia Donaldson, Edward Lear … Sometimes, when I conduct a workshop at a library, other poets catch my eye too, and we read their poetry as well.

What’s the point?

The point is to avoid creating poems that rhyme but do nothing else:

Oh, I have so much honey!
Let me go to the store and buy a big jar of honey.

Do you see what I mean? The more we read, the better we can write.

Form

Playing with different kinds of poetry is wonderful too. I turn to Shel Silverstein over and over again for experiments with form when I work with children. For one, there are wonderful downloadable poetry kits on his website – what more does anyone need? I cannot even remember the number of times I’ve used his poems. The Giving Tree is an exceptional story, but there’s so much more to his work, which is lovely.

Helping children write different kinds of poetry allows all me to explore what is poetic over and over again. Yesterday, we worked with epigrams, concrete poetry, non-rhyming poetry and more, and kept exploring why some epigrams sound like statements, almost scientific, while others are poetic.

Understanding, in whatever way, that elusive quality – “poetic” – I suppose that’s what my poetry workshops seek to explore.

Other poetry workshops

• Limericks, epigrams and more
• A few resources for creative writing workshops
• More fun with limericks

Stories are magical; we all know that. What is even more magical is when you can feel creative energy pulsing all around you and then see those ideas transforming into stories.

Creative Writing with Children

Yesterday, at The Story Station, I met a group of enthusiastic young children, bursting with ideas. One boy had made a list of ideas that he wanted to develop into stories. And as a writing exercise, he came up with a portal to Legoland!

A six-year-old told me she wants to write scary stories. Her first story was about Nina and the monster under her bed. The second was about falling through a wall into a place where it was Halloween! Terrified of a skeleton there, she ran back through the wall to safety.

Yes, she is six (okay, six and a half, she would insist) years old, and yes, she wrote it right there in front of me during my workshop.

Creative writing workshops are the most rewarding ones in so many ways. The range of stories children come up with in fifteen minutes is awe-inspiring. As a writer, it reminds me to get my act together and get writing. How can I complain that I’m short of ideas when children have a hundred ideas overflowing from them?

Teaching Literature: A Workshop with English Teachers

Last week, I also worked with a set of English teachers, and that was simply lovely too. As we tried to create a story together, I realised once more the power of the words, ‘Then, what happened?’ It’s such a lovely way to get a story moving!

From approaches to teaching literature to the joy of language learning, we explored so much, that I came away feeling refreshed!

Other workshops I’ve conducted at The Story Station

• Creative writing workshop, July 2017
• Creative writing, March 2019
• Exploring The Prophecy of Rasphora, April 2019

A few more language and literature workshops

• Journeys with Shakespeare, October 2016
• Reading and creative writing, June 2018
• Language games in Bhusawal, October 2018
• Working with librarians, February 2019

It’s always fun to do workshops when I don’t have to organise them! Last week, I conducted a fun workshop at The King’s School in Goa. We worked with critical thinking – something that is close to my heart also because I taught Theory of Knowledge and enjoyed it so much.

Lots of people ask me what a critical thinking workshop involves. For me, it involves understanding our prejudices and assumptions. Of course we need to make assumptions all the time. But perhaps we could look at the ways in which we jump to conclusions, what fallacies creep in, and how everything we know and think is shaped by more factors than we can count.

An interesting assumption that cropped up during this workshop, for instance, was that almost everyone in the room assumed the store owner in a tiny written exercise we discussed was male!

I’m travelling to Chandrapur and Akola next week to do some workshops, and I’ve been invited to do a creative writing session for a bunch of children next weekend. I’m also looking forward to sessions with a group of young writers at The Story Station, and of course, the next batch of my Writers’ Club at St. Mary’s!

So often, I come across posts that talk about how lit fests are a waste of time for authors, and how lit fests exclude rather than include. For me, though, lit fests remain unadulterated fun. Does this have something to do with being a children’s writer, perhaps?

The Lit Bug Fest, Pune’s own lit fest, is in its fourth year, and I have been involved with it for the last three years. I love everything about it – the anticipation, the fest itself, and then, the high I’m left with for a few days after.

Writing about the day helps me relive it and remember. Here are my posts about the fest last year and the year before that:

• The Lit Bug Fest 2017
• The Lit Bug Fest 2018

What I did this year:

A Marathi Play

My day began with a Marathi play presented by students from classes V and VI. Honestly, when I sat down to watch, I did not expect to enjoy it much. It was a school production, how entertaining could it be? I don’t know if it’s just me, but sometimes, amateur performances are so over the top, that I’m embarrassed just watching them.

This one came as a pleasant surprise. I enjoyed how music was used, and I found myself chuckling more than once. It was a nice start to a day of stories!

A Dance Performance

Since the Lit Bug Fest in 2017, I have been meaning to watch Nikhil Parmar and Meghna Rao perform. Somehow, though, the timing has never suited me. Even this time, I could stay for only two of their three pieces, but how enjoyable they were!

The theme of this year’s Lit Bug Fest was languages, and the session was an exploration of the language of dance. The first piece Meghna and Nikhil performed told the famous story of the snake Kaliya, and Krishna’s triumph over it. The language of Kathak, together with the words, was lovely.

The second piece was based on a poem by Gulzar. A gentle, evocative rendition, Meghna performed through dance what Nikhil presented through vaachika abhinaya – words. I wish I could have stayed for the third piece too, but it was time to prepare for my own event – exploring the prophecy of Rasphora.

The Prophecy of Rasphora

With an enthusiastic audience, only too willing to participate, I had a wonderful time exploring language through The Prophecy of Rasphora. We played games around language, trying to create words in a brand-new language, Rasphoran. What words would you choose to translate? What words do you love?

The children (and adults) came up with words for life, love, thank you, mirror, hello, waterfall, painting … I loved it!

I did feel bad, though, that so much of my session depended on a handout. I had a visually impaired person in the audience, and such a strong focus on graphic material was not a good idea. I will do better next time.

A Multi-Lingual Storytelling Session

I took a long break after my session, for the loveliest reason of all – book signing! As usual, though, I took no pictures, but my heart is warm with the images in my head.

Immediately after the break, I attended Vaishali Kulkarni’s storytelling session. I was left wide-eyed with admiration. She gave the audience imaginary remote controls that would make her switch from Hindi to English to Marathi, at random! Her story was animated, fun and full of laughter, but what impressed me most was her skill with language. During this session, she did not speak Tamil, but she had a Tamil storytelling session later in the day – she is incredible!

Sanskrit Interactive Storytelling

The last session I attended at the Lit Bug Fest was another delightful one. Vinayak Walankar, the storyteller, told his tale entirely in Sanskrit, and the audience – most of which did not know the language – was enthralled. Fun activities, a dramatic story about a family whose wishes go awry, numbers, gestures … We were laughing almost throughout. What impressed me most was that no words from other languages slipped in, or at least, none that I noticed. It was lovely!

I left shortly after this session – with three performances next week, I cannot afford to skip a rehearsal. I’m sure the Lit Bug Fest will be back next year with more!

Last month, The Story Station invited me to interact with a group of young writers. I spoke about my journey as a writer and conducted an activity based on my latest middle-grade novel, The Prophecy of Rasphora.

A little about the book …

Three young girls stumble upon Rasphora, a land behind a waterfall. There, they begin to teach Rasphorans the languages they know, and slowly, they pick up the Rasphoran language and are soon speaking like natives.

Where the story led …

When Vaishali, founder of the Story Station, told me that the theme of this year’s Lit Bug Fest would be language, things clicked into place instantly. My focus, through Rasphora, is language, and the activities I conduct around it are all based on language. In many ways, language is central to the story – ideas are lost because of a dying language, and language becomes a pathway to a new world.

And so, naturally, I’m delighted to be bringing Rasphora to the Lit Bug Fest tomorrow! I’m going to be doing an activity around creating a new language, words we love, and deciphering scripts.

Details

Venue: Yashada, Baner Road
Date: 20th April 2019
Time: 10 am to 7 pm
Ticket rate: Rs. 500 per head

Here’s the whole schedule of the Lit Bug Fest. There’s a wonderful line-up of storytellers who will be presenting tales in multiple languages. It promises to be exciting!

Book your tickets …

• Google pay – kshirsagarishan@okhdfcbank
• PayTM (Ishan Kshirsagar) – 9730190090 (Ishan Kshirsagar is the Co-Founder of The Lit Bug Fest.)

Carry a screenshot of the payment made when you come to the event on 20th April 2019.

Explore videos, photos and more on the Facebook page of The Lit Bug Fest 2019.

The Pen to Paper competition was a nationwide search for young writers, organised by Edupeer and ICICI Lombard. It received about 10,000 entries! These were narrowed down to 2,000 and 1,000 and then, finally, the top 150 writers from all over the country were selected to receive training from an author.

When FunOKPlease contacted me to ask whether I would be willing to facilitate the Pune chapter of the workshop, I hesitated. I don’t usually work with non-fiction; I find fiction more engaging, more fun.

Yet, I was intrigued. I do enjoy workshops with children who don’t yet know one another. When people get to know one another through the course of an afternoon, it’s exciting!

And this workshop was no different. Eleven teenagers got together and shared stories. We spoke of pranks, humour, mystery and poetry.

We asked ourselves crucial questions: What is the purpose of art? Are there rules art must follow? What happens if we break these rules?

Writing is full of contradictions!

I spoke of writing what we know – not setting stories in San Francisco and Philadelphia for no reason. But I also spoke of Toni Morrison’s advice to young writers – write what you don’t know.

We discussed the seven major themes of literature and finally came to the most important idea of all – finding your own voice, for that is what makes your writing unique.

The 150 writers then sat down to write fresh pieces. The top 20 will be published in a special volume by FunOKPlease!

What’s next?

The Lit Bug Fest, an annual literary fest for children that will be held at Yashada on the 20th of April.

I love ‘what ifs’.

• What if there’s another me on the other side of the mirror?
• What if a half-boy-half-deer wanted to fit in?
• What if someone experimented with smells and could create them?
• What if an old Bajaj scooter began to fly?

These were some of the what-ifs that inspired the stories in The Story-Catcher. What-ifs can go anywhere. We don’t need to rein them in and pull them back.

And so, during creative writing workshops, I love to see where they can take us. Here’s what a few children came up with yesterday.

I love ‘What if all my what ifs came true’! What’s your favourite?

The children then went on to write poems called ‘What if’, which were delightful. They played with opposites and humour, as well as beauty.

What if a boy could become a girl?
What if a speck of dust was as precious as a pearl?

Aren’t ideas magical?

What’s next?

The Lit Bug Fest, an annual literary fest for children that will be held at Yashada on the 20th of April.

What’s better than a creative writing workshop with enthusiastic children?
Two creative writing workshops with enthusiastic children!

On Saturday, I did a workshop at Meridian Kids Club for the first time. New place, new children – it’s always fun! An activity I love is creating monsters together, and this time was no different.

We played a game during which the children came up with a huge greenish monster with twenty heads, a hundred eyes, one tooth, no noses and just one foot. The interesting thing about this monster, though, was that he was ugly and good. He would clean up the world. Good and ugly was a wonderful combination, and I’m glad it came up. (I’ve written earlier about attempting to investigate why all the monsters children create at my workshops are black and fairies are blond.)

I asked the children to create the monster’s enemy too, for conflict is central to a story, and that led to a lovely discussion. There were 11 children there – six girls and five boys – but all the monsters, good and bad, were male. Not one female monster, except as the “monster’s wife”. How could I let this pass?

One thing led to another, and we had a fun workshop, full of laughter and imagination.

Here are a couple of other times that I worked with monsters, and what came of them:

• St. Mary’s School 2017-18
• BookMark, Coimbatore

On Sunday, I did a workshop at a place I love, The Story Station.

As always, the group was dynamic and excited, and we did many different things, including a brand-new activity based on my book, The Prophecy of Rasphora. I’ll share the activity on my blog as soon as the book is easily available for purchase.

Making up new words, imagining what made-up words could mean, and talking about words we love … What did I learn? I learned about how favourite words change all the time. While my favourite words include ‘enchant’, ‘chuckle’ and ‘magic’, the children came up with ‘lol’, ‘hangry’, ‘ttyl’, ‘awemazing’ …

Keeping up with the times is hard, and I’m just in my 30s!

Another year at the Writers’ Club has come to an end, and what a wonderful session we had to bring a creative year of stories to an end!

We began, as always, with an announcement of the winners of this year’s Writers’ Club competition. Competitions are such fun! They create a mood of anticipation and celebration, which ensures that the energy stays high throughout the session.

As before, two girls from a previous batch evaluated the entries, for I feel that learning to critique work is an important part of growing as a writer. Their responses and comments were heart-warming, as they paid attention to detail and identified why they liked what they liked.

The highlight of the session, though, was our special guest, Dr Sreeja Nag, dear friend, ex-student of St. Mary’s and research engineer at NASA. She was wonderful, warm and expressive, and we had a lovely hour with her.

“Do aliens exist?” one girl asked.
“If I wanted to make a joke, I would say that I’m not allowed to tell you.”

“What should I do if I get stranded on a planet?”
After patiently answering the question, Sreeja said, “I suggest you don’t get stranded on a planet, though. It won’t be fun.”

From telling us about the role of a bullock cart in a rocket launch to talking about different forms of science fiction, I think the loveliest thing about the session was her emphasis on story. Stories inspire us. Stories spark interest. “Imagine.” I can’t remember the number of times Sreeja used that word.

Imagine that a star fifty light years away emits light now. You’ll get light from that star only after fifty years go by.
Imagine something that defies vision.
Imagine living in a world where people did what computers now do.
Imagine.

“If I want to write a story about aliens, how can I make it believable?”
“If I want to write about humans meeting aliens, how could I do that?”
“How big is a space shuttle?”
“What happens inside a black hole?”
“What about the unidentified radio wave that we heard about? Was that an alien?”

We talked about the details of setting a story in a place without gravity. Tears would not fall. If you washed your hair, it would not fall neatly down your shoulders.

“If you want to write science fiction, set it really far away – in space or in time. Then, you don’t need to deal with questions of credibility. And write about women in science. Write about girls in science in India. We need these stories.”

Thank you for coming to the Writers’ Cub, Sreeja. We’re waiting for more stories that fill us with wonder.

Adults love data. They love graphs and statistics and numbers. During workshops with adults, the moment I put up a graph, I have everyone’s attention as if I’m finally saying something ‘real’.

And that’s why I started working with real-time polls through Mentimeter. I show my audience a question and all those with smart phones (usually nearly everyone in the room) vote. And they see numbers, which makes everyone happy.

Question One: What do you read most often?

For this question, I allow participants to choose more than one option. This helps them feel comfortable, not pinned down to choosing one and being ‘wrong’.
I give them four options:

• Blue – Newspapers, magazines, etc.
• Yellow – Facebook/WhatsApp posts
• Green – Storybooks
• Red – Other

As you can see, there’s nothing really, solidly conclusive about this. Yet, on the whole, have a look at this graph, which combines the results.

So, after this, it’s time to go to the next question.

Question Two: Why do you read?

For this question, I allow them to choose just one option. Once more, we have four options:

• Blue – To gain knowledge
• Yellow – For entertainment
• Green – To improve language skills
• Red – Other

Here’s a look at the combined data for this question.

We do have a small discussion, allowing participants to change their minds. But most don’t want to. They feel that gaining knowledge and improving language skills are proper reasons to read.

So, where do we go from here?

I then go on to ask the adults if they want children to read. As an answer to this question, I always hear a unanimous ‘yes’. Everyone wants children to read.

Why? The reasons are so clear above, aren’t they? They’ll gain knowledge! Their vocabulary will improve! Sentence structure will improve! Wasn’t this what the whole polling activity led to?

Yes and no.

My point is simple. Children go to school. They usually go for a thousand classes after that – drawing class, singing class, tuition, skating, yoga … Each day of the week is devoted to something.

What do we tell children about why they should read? The graphs above show that gaining knowledge and improving language skills are the reasons that win hands down.

After school, dance class, guitar class, badminton class and all the rest, does a child really want to learn more? Does a child want more ‘improvement’?

And that’s why the reason to read needs to change if we honestly want children to read. If you read only to learn, you make the link ‘Reading = Studying’. If reading=studying, I don’t want to spend my spare time reading, sorry.

But if reading equals entertainment … There’s something to think about.

Setting an example

The reason is as important as, if not more important than, the activity. Do you read? What do you read? Why do you read? When children learn by imitation, why would reading be any different?

If you read, they read.
If you read for pleasure, they read for pleasure.
If you don’t have time to read because you don’t make time to read, they don’t have time to read because evidently it’s not important enough to make time for it.

It’s as simple as that.

Do we need graphs to prove that? Only if we don’t already read for the joy of it.

Sometimes, I wonder whether secretly, I conduct creative writing workshops more to inspire myself than to inspire the children I work with. Whatever it is, I do know that I enjoy myself tremendously whenever I teach creative writing. I feed off the enthusiasm of the children and I come home ready to write, which is invigorating.

Children and Writing

Many children love to write. I was one of them, and I wrote all kinds of things, mainly inspired by what I read. I wrote about magic and school, and things that I thought would be moving – like earnest poetry about war and poverty. Writing is fun; it may even be good. But when publishing is so easy, I find that many parents and teachers think everything that children write is perfect. I don’t always agree. Here are my pet peeves:

Forced rhyme

I suddenly have a lot of money
I think I'll go to the store and buy a jar of honey.
Oh, isn't it funny?
My favourite pet is a bunny!

You get the picture. Rhyme without meter, plus rhyme that compromises meaning. Many children write poetry that rhymes but does not really make sense.

A Dream

The plot gets complicated, convoluted, textured, rich … And it was all a dream.

This is the most annoying and the most common of all, with children and adults. Why do we do it? Because that’s the easiest way to end the story, right?

No Story

I woke up in the morning. Then, I brushed my teeth. Then, I went to school, but my best friend was absent. I was so sad! But I had so much fun in class that I forgot she was absent. When I went home, I said, "Oh, my best friend was absent. I missed her so much!"

There are various forms that this story takes, prime among them being the endless ‘and then this happened, and then this happened and then this happened’.

Agenda

I know that everyone won’t agree with me here, but one thing that gets to me is the moral of the story, explicitly written out. Everything ends with a moral. Often, the moral is completely unrelated to the story.

Creative Writing Workshops

Through creative writing workshops and of course through my Writers’ Club, we work on these ideas. At the beginning of each year, I ask the children to answer three questions:

• Why do I write?
• What do I want the reader to feel when I write?
• What do I need to do to keep the interest of the reader?

This is a great starting point, I find. And from there, we come to other activities.

Fortunately, Unfortunately

I’ve written earlier about Fortunately-Unfortunately – the game and the book. I came across the activity through a wonderful resource book, Creating Stories with Children.

I cannot recommend this book enough; it’s a treasure trove of activities.

After I started conducting this activity during workshops, I came across Michael Foreman’s brilliant picture book with the same name. It’s a delightful book, which works with children of all ages, depending on how you choose to read it out.

On Goodreads, I also came across another book called Fortunately by Remy Charlip. I haven’t read this one, but if all the reviews are anything to go by, it’s a promising book that would work just as well.

Writing a letter

Very often, I conduct workshops at libraries, where letter-writing in this way works beautifully. I begin with a story of my own, from The Story-Catcher. Here’s a reading-cum-telling of the story.

I then ask the children to write letters of their own, which they quietly put into their favourite book in the library. If the librarian is enthusiastic enough, I ask her/him to keep the letters going. Other readers respond; the act of writing goes wonderfully with the joy of discovery.

Here are a few links to how it has worked in the past:

• An activity conducted by a colleague based on “The Dictionary”
• The Story-Station
• The Writers’ Club at St. Mary’s

Poetry

With older children, I like to open up the understanding of poetry with a video like this one.

Who doesn’t love freebies? To work with poetry, I absolutely love Shel Silverstein’s website. It’s full of printables that you can use with his poetry. Especially to tackle the problem of forced rhyme, I introduce children to different forms of poetry. Explore his website to find activities to print and use.

That’s just a handful of ideas; what would you add?

Many, many parents ask me what a reading workshop is. What happens during a reading workshop? Who should attend a reading workshop and why? What will the outcome of a reading workshop be? This post tries to explain all that.

What children read and why

Often, at reading workshops I conduct, we talk about books we love. I’m not very fond of the question ‘What is your favourite book?’ because I think it is impossible to have a favourite book. I do realise, however, that it’s a promising start to a conversation, plus a way for me to get an idea of the interest and reading level of the group I’m working with.

“What do you read?” I ask, attempting to be neutral in my question. I don’t ask them how many enjoy reading because that feels like a trick question. They are already conditioned enough to know they are “supposed” to like reading. The question has to feel less threatening; What do you read? usually works.

When I’m dealing with children whose linguistic level matches their emotional level, I learn about all kinds of books that children enjoy. It’s thanks to children that I discovered Geronimo Stilton, Tom Gates, Dork Diaries, and so many others.

With many other groups, though, listening and speaking happen in one language, while reading and writing happen in another. Often, children aged 12 and 13 study in an English-medium school but have no command over the language, as a result of which what they read is poles apart from what I would call enjoyable fiction.

“William Shakespeare is my favourite author,” twelve-year-olds tell me. “And Charles Dickens.”

I hear all these. Children apparently like Jane Austen, William Wordsworth, Thomas Hardy … Because that’s what they think I want to hear. I wrote about this in an earlier post when I spoke about adult expectation.

At the other end of the spectrum, there are wonderfully naive children, who are not inhibited by expectation. Aged 11 and 12, they comfortably and confidently tell me that the last book they read was Cinderella.

And then, of course, there are children who love reading and devour books – much like I did when I was a child. A reading workshop brings all these children together and gives them a safe space to talk about their relationships with books. The sparkling eyes and excitement that go hand in hand with movies children love? That’s what I try to bring into the world of books through reading workshops.

What does a reading workshop do?

A reading workshop tries to bring back the fun element of reading. Why do we read? Sure, Geronimo Stilton may be my favourite character ever, but when I’m struggling with hormones aged 15 or 16, do I want to continue reading about the adventures of mice? Is it not more likely that I will give up reading altogether?

Reading workshops seek to introduce children to books they will love, books they get completely immersed in. This is much more difficult than it sounds, the older children get. When reading is difficult and time-consuming, developing the habit is a huge investment of precious time, when children would rather dance, play football, watch television …

(And this is okay. It is something I’ll write about in another post. There are many adults who hardly read at all as children. Does that make them “less” in any way? I don’t think so!)

Who should/could attend a reading workshop?

A workshop addresses all kinds of children: those who don’t know what to read, and those who love reading.
Those who have never read for pleasure, and those who read only for pleasure.
Those who are surrounded by readers in daily life, and those who have no one to talk to about the last book they loved.

Longer reading workshops give children the space to read and do activities together. They help children share ideas of reading and often, children often take the next step themselves–they create books and charts of their own.

A workshop is a tiny step, though, if we want reluctant readers to read for pleasure. To fall in love, we need a long-term relationship first, and that’s why workshops with parents and teachers are crucial too. They are the ones who can build those relationships and ensure that children have the time to read.

When is the next workshop?

My workshops calendar will tell you everything you need to know!

To be intimated about forthcoming workshops programmes in advance, please fill this form or follow me on social media – Facebook, Instagram and Twitter.

Do you still have questions? Write to me, or leave a comment here!